Sugar Ray and the BlueTones featuring Little Charlie Too Far From the Bar

Sugar Ray and the BlueTones featuring Little Charlie
Too Far From the Bar
Severn Records

The new Sugar Ray and the BlueTones album is a corker of a recording. The regular cast of Anthony Geraci on piano, Michael 'Mudcat' Ward on bass, and Neil Gouvin on drums support Ray Norcia's vocals and harmonica. Handling the guitar on this recording is (Little) Charlie Baty playing on some of his last recordings. Duke Robillard, who produced this recording, adds his guitar to four songs. This stellar band is heard on nine originals from Norcia, Ward, or Geraci along with six covers of songs that have not become hackneyed from being over-recorded.

Norcia is superb, whether singing with his warm natural baritone or laying down swooping horn licks on the harmonica while the backing is stunning. Norcia's vocals flow naturally with a relaxed, mellow flow suggestive of Junior Parker and Fenton Robinson. His harp playing can rock like a Big Jay McNeely sax solo or warble like Sonny Boy Williamson. Baty's guitar sings whether comping, adding subtle comments to the vocal, or a sizzling solo. Robillard is more in a jazzy single note o his selections while Geraci is at the top of the game, at times channeling Otis Spann and elsewhere laying down his accompaniment with a jazz-tinged sophistication. The supple rhythm from Ward and Gouvin completes this sublime music.

The recording opens with a spirited reworking of The Five Royales "Don't Give No More Than You Can Take," with Norcia's ripping horn-like solo and Baty's explosive playing. It is followed by a first-rate rendering of John Lee Williamson's "Bluebird Blues" with Geraci superb while Norcia's harp evokes Rice Miller. There is plenty of humor in several songs, including the title song. It is about folks who go to a restaurant or bar and wondering when they will get served. After a swamp-pop flavored "Too Little Too Late," Norcia showcases his virtuosity on the energetic instrumental "Reel Burner." His playing on it is more James Cotton than Little Walter here. An excellent cover of Little Walter's "Can't Hold Out Much Longer," follows. One of the most original lyrics here is "Numb and Dumb" about a woman that has Norcia under her thumb as he wonders who she is taking home.

There is a somewhat frantic feel to "My Next Door Neighbor," with Baty blasting off with rockabilly-laced solo, although Norcia's vocal lacks the relaxed quality due to the frenzied tempo. On the cover of Otis Spann's "What Will Become of Me," Geraci is outstanding as channeling the legendary blues pianist behind Norcia's heartfelt singing. Robillard adds his touch to the jazzy feel of "What I Put You Through," as well as the standard, "I Got a Right To Sing the Blues." Another selection that Robillard is present on is Mudcat Ward's "The Night I Got Pulled Over." It is a talking blues with Norcia providing the narrative of a traffic stop without a reason because he fit a profile.

An alternate take of "Reel Burner" closes this album. That song title is an allusion to what Duke Robillard observed that the band was so hot that they even set a multi-track tape machine on fire. As hot as some of the performances are, others bring out different qualities and moods. Whatever the tempo or feeling, "Too Far From the Bar" is simply a stellar blues recording.

I received my review copy from a publicist. (This CD is being released on September 18). Here is a video from 2019 of Sugar ray and the BlueTones with Little Charlie and Duke Robillard.

Paul Gabriel Man of Many Blues

Paul Gabriel
Man of Many Blues
Smoke Ring Records

"Man of Many Blues" is the latest CD from New England based guitarist-singer Paul Gabriel. Duke Robillard, who also plays on this recording, produced it. Gabriels performs 13 originals and is backed by an all-star cast of musicians, including Duke Robillard (acoustic archtop guitar, electric guitar); Scott Spray (a veteran of both Edgar and Johnny Winter bands), long-time Gabriel friend and band member Frank Davis and Paul Opalach (bass); Mark Teixeira (drums); Sugar Ray Norcia (harmonica); Bruce Bears (piano and Hammond organ); Lonnie Gasperini (Hammond organ); Howard Eldridge (vocals); Christine Ohlman (backing vocals); Mark Earley (tenor and baritone sax); and Doug James (baritone sax). This is the second album by Gabriel that Robillard has produced and it is dedicated to Gabriel's friend Georgia Louis, a 1960s Gospel and Blues singer.

The recording has a varied program of blues, blues-infused rhythm and blues and pop. Gabriel, to these ears, strength is his vocals. He sings naturally with a relaxed sense of timing that this listener finds appealing. He has written several memorable, adult songs that are handsomely played with some strong solos, but the performances are vocal focused. There is a celebration of music on the opening track, a New Orleans blues "I Feel Good." On the pop-flavored "Cold Cold Cold" with Mark Earley's tenor sax adds flavor to a song that has hints of the music of Steely Dan, and Hall and Oates. Sugar Ray Norcia adds his harmonica to the folk-blues lament, "I'll Be That Way Sometime." There is a Johnny 'Guitar' Watson funk flavor to "No Finance No Romance" on which Howard Eldridge shares the vocal.

"Blues For Georgia," dedicated to Georgia Louis, is a jazzy R&B instrumental displaying Gabriel's thoughtful, non-flashy guitar playing. There is the world-weary humor of "Second Story Man," as he traipses all across town with a woman who can't find her key when she gets home. Both Gabriel and Robillard have concise solos on this. Musically "Man of Many Blues" evokes some of Johnny Adams' Rounder recordings. It has a lyric about a person who took some abuse in his life but never took shortcuts with some biting jazz-inflected blues guitar. "Face Full of Frown" is a lively jump blues shuffle with a driving guitar solo. Dear John Letter" closes this CD in an album rock vein with some searing guitar.

 I do have one complaint, and that is the text on the album cover is very difficult to read. The red type on the dark brown background does not help the legibility of text. About the music, I enjoyed it very much. I might not call this is the best thing since sliced toast with orange marmalade, but Paul Gabriel brings sophistication and a deep blues feeling to these well-recorded, well-performed and delightful musical performances.

I received my review copy from a publicist. This review appeared in the September-October 2019 Jazz & Blues Report (Issue 386), although I made minor stylistic changes. Here he performs "Blues For Georgia."

Anthony Geraci Why Did You Have To Go

Anthony Geraci
Why Did You Have To Go
Shining Stone Records

Pianist and organist Anthony Geraci brings his four decades plus experience with Sugar Ray and the BlueTones to a second album under his own name. He has brought together quite a group of folks including vocalists Sugar Ray Norcia, Sugaray Rayford, Michelle “Evil Gal” Willson, Willie J. Laws, Dennis Brennan and Brian Templeton; guitarists Ronnie Earl, Monster Mike Welch, Kid Ramos, and Troy Gonyea; bassists Willie J. Campbell and Michael 'Mudcat' Ward; drummers Jimi Bott; Marty Richards, and Neil Gouvin; and horn players Sax Gordon and Doug Woolverton.

Geraci wrote all thirteen of the songs and they cover a variety of tempos and styles starting with the opening "Why Did You Have To Go" wonderfully sung by Norcia with some terrific Texas to West Coast slashing guitar from Welch. It is followed by a hot shuffle, "Don't the Grass Look Greener," with some shattering guitar from Kid Ramos along with a hot Rayford vocal. Ramos takes the lead on the Chicago blues shuffle groove of "Fly on the Wall." Willie J. Laws handles the vocal on a song that sounds like an unissued Johnny Young number while Ramos plays more in a traditional Chicago vein and Geraci superbly channels Otis Spann This number contrasts with the late night feel of "Angelina, Angelina," where Rayford pleads vocal about his woman leaving him stranded at the Courthouse door. "Long Way Home" has a New Orleans groove with horns adding punch  (Woolverton soars on his trumpet solo), while Geraci plays solid Crescent City styled piano.

"Two Steps Away From The Blues" sounds like a classic 50s Texas urban blues wonderfully sung by Michelle Wilson, while more Chicago styled blues can be heard in "Time's Running Out," with Norcia singing wonderfully and Ronnie Earl taking the lead guitar solo. "Baptized in the River Yazoo," is a delightful down-home Willie Laws vocal backed solely by Geraci's superb backing. Dennis Brennan, while not bad, is perhaps the less striking singer on this recording, although the backing he receives on "Too Many Bad Decisions" is excellent. "What About Me" is a nicely done vocal duet between Michelle Wilson and Brian Templeton.

After Geraci channels Spann again behind a first-rate Norcia vocal on "My Last Goodbye," (with more sterling Ronnie Earl guitar), this album closes with his jazzy instrumental "A Minor Affair," a swinging cool number with Woolverton plays with a nice middle-range tone, followed by a driving solo from Gordon. There is so much to enjoy on this recording from the fresh, varied material from Geraci, his own consistently strong playing, a solid studio band and terrific singing and playing. "Why Did You Have To Go" is superb.

I received my review copy from a publicist. Here is Anthony Geraci live.

Peter Ward Blues on My Shoulder

Peter Ward
Blues on My Shoulder
Gandy Dancer Records

New England guitarist Peter Ward has not forgotten his blues roots growing up in Maine. " I grew up wearing out the vinyl records trying to understand how Robert Jr. Lockwood, Tiny Grimes, Louis Meyers and Jimmy Rogers made songs sound so good. It's what I wanted to do." The chords, fills and bass runs still delight him today and he treasures when Otis Rush told him decades ago that he (Peter) played chords like "an old man." He also had a stint touring as part of the Legendary Blues Band, "The way they played blues was everything I believed in, then and now."

On this recording of 12 originals and a cover of Robert Nighthawk's recording of "Kansas City Blues," he has an all star cast of players on various tracks, including guitar legend Ronnie Earl, Sax Gordon Beadle on sax and the members of Sugar Ray and the Bluetones: Sugar Ray Norcia (vocals and harmonica), “Monster” Mike Welch (guitar), Anthony Geraci (piano), Michael “Mudcat” Ward (Peter’s brother – bass) and Neil Gouvin (drums).

Ward is a Chicago blues traditionalist as evident on the opening "She Took It All," a song about his ex taking his Cds and mp3s set to a Jimmy Rogers styled shuffle groove with Norcia adding  nice harmonica along with a fine guitar solo and it has one Ward's better vocals here. "Witch Hazel" is a tribute to Chuck Berry with simple bass and drum support and an effective Berry inspired guitar solo. The title track is a modern Chicago blues with a driving groove and more fine harp from Norcia. It is followed by "Collaborate," a song where Norcia takes the vocal (and has a harp solo) with Ward displaying Robert Lockwood Jr.'s influence and Sax Beadle adding musical accents.

Instrumentals like "Shiprock," show his deft touch and a relaxed attack, while "Southpaw," is an tough organ-guitar number with Rusty Scott adding grease while Ward is in a jazzy vein here. His playing on "On the Ropes," has a bit of country twang mixed in. Geraci and Norcia also sound fine here. Geraci's rollicking piano is present on "What Can I Do To You?" with fair singing along with the backing. Ronnie Earl and Sax Beadle are on a couple tracks, an easy rocking shuffle, "It's On Me," and a tough West Side Chicago styled blues, "A Little More." Earl is terrific behind Ward's singing, and really explodes on the latter number. "Colletta" has a country blues feel with Eric Kilburn adding mandolin, and followed a cover of Robert Nighthawk's recording of "Kansas City Blues," a song first recorded by Jim Jackson in the twenties.

The closing "Drummin' Willie," is a tribute to Willie 'Big Eyes' Smith, who had "that deep blues sound," and his remembrance of Willie and the Legendary Blues Band as he lists some of those he has played with. It is set to a Muddy Waters styled backing by Sugar Ray and associates. It is a straight-forward, solid close to this recording. Ward is an effective, if not great, vocalist, and a fluent guitarist rooted in the classic Chicago blues tradition and produced a very appealing release.

I received my review copy from a publicist. I have made a few clarifying edits to the review that appeared in the November-December 2017 Jazz & Blues Report (Issue 375). Here is Peter performing "Kansas City Blues."

 

Jimmy Rogers With Ronnie Earl & The Broadcasters

Jimmy Rogers
Jimmy Rogers With Ronnie Earl & The Broadcasters
Bullseye Blues

In Spring 1978, this reviewer went to see J.B. Hutto at a New York club where he was accompanied by a Boston area band, Sugar Ray and the Bluetones which featured an excellent guitarist, Ronnie Earl Horvath. They did a splendid job of backing Hutto’s Chicago slide guitar blues, and Horvath even then showed his considerable guitar prowess. I bought an EP by the band which included a Horvath homage to Earl Hooker and several other blues done handsomely by Sugar Ray Norcia, Horvath and the band.

Over a decade later, Ronnie Earl, and Sugar Ray are caught live in Europe backing yet another Chicago blues legend, Jimmy Rogers, at a German concert. Joined by stellar pianist Dave Maxwell and a first rate rhythm section, Earl opens with hot tributes to Gatemouth Brown and Earl Hooker before letting Sugar Ray handle the vocal on The Same Old Blues. From then on, Jimmy Rogers, sounding remarkably youthful, reprises a number of his more celebrated songs including Rock This House, Gold Tailed Bird, Walking By Myself, and Left Me With a Broken Heart, with plenty of solo space for Earl, Sugar Ray and Maxwell, along with some nicely done breaks by Rogers himself.

There can be little fault with the playing, but compared with Rogers’ Chess singles, the focus of the songs becomes slightly diffused with the jamming. This is a matter of observation and taste, because this is what one will hear live if one sees Rogers with his own band. This might even have an edge over the fine Antone’s album by Rogers on which Kim Wilson’s harp dominates at certain places, and certainly an indication of how vital Rogers can still be.

I likely received my review copy from a publicist. This review originally appeared in the Septeember 1994 Jazz and Blues Report (Issue 194). Here is Jimmy Rogers performing in 1994.

Roomful Of Blues Dance All Night

Roomful Of Blues
Dance All Night
Bullseye Blues

I remember first hearing about Roomful of Blues from Big Joe Turner and Lloyd Glenn who had raved about them after being been backed by them. When their first album came out, I was impressed by their faithfulness to the originals, although they were derivative. In the decade and a half since, there have been some personnel changes, but they have maintained their commitment to the jump blues.

Today, the band exhibits more personality and individuality in its music. This is evident in the new album. Fronted by vocalist and harp player Sugar Ray Norcia, the album shows their incorporation of modern urban blues into their repertoire with nice versions of Little Milton’s That Will Never Do and Little Walter’s Up the Line. The Buddy and Ella Johnson classic I’m Just Your Fool and Lillie Mae, derived from a Smiley Lewis recording, are given first-rate readings.

Sugar Ray contributes some strong originals, and his relaxed delivery, reminiscent of Junior Parker, evinces his development as a fine blues vocalist. Chris Vachon ably handles the guitar, Matt McMabe pounds the 88s, and the horns of Bob Enos, Carl Querfurth, Greg Piccolo and Doug James rip through the ensemble parts and solos. This simply is superb jump blues.

I likely received my review copy from the record label. This is still available as a CD or download. This review originally appeared in the July-August 1994 Jazz & Blues Report (Issue 193). Here is "Up The Line" from this album.

Sugar Ray and the BlueTones Seeing Is Believing

Sugar Ray and the BlueTones
Seeing Is Believing
Severn Records

"Seeing Is Believing" is the latest from One of today's top blues groups, Sugar Ray and the BlueTones. Once again the quintet has produced a dozen blues grooves including eleven originals from the band members. Ray Norcia has certainly become a most expressive singer while Monster Mike Welch a superlative guitarist such as when he evokes Otis Rush on the title track behind Norcia's Junior Parker-like soulful crooning. Add Anthony Geraci's two-fisted piano, Michael Mudcat Ward's rock solid bass and Neil Gouvin's crisp drumming, and one has one superb band.

One should not be surprised by the variety mix of sounds here including Geraci's rock steady "Noontime Bell," where Norcia sings about leaving his ex-before that noontime bell before taking a charged harmonica solo while Geraci takes a piano break that would have made Otis Spann smile. On "Keep On Sailing," Norcia opens in the manner of one of Rice 'Sonny Boy Williamson' Miller's unaccompanied solo performances with the band joining halfway in, and then followed by a hot shuffle, "Blind Date" that provides another showcase for Norcia's harp as well as Welch coming across like a cross of country swing version of Willie Johnson. Welch is showcased on an instrumental rendition of B.B. King's "You Know That I Love You," suggesting, but not imitating, King's guitar sound. What a nice tribute to the late legend.

The rest of the album is similarly first-rate with strong songs (including the blues ballad "Not Me" and the Muddy Waters' styled "Too Hundred Dollars Long" with terrific slide guitar), fine vocals and a superb band, which should not be surprising since since they have had the same line-up since Welch joined them 16 years ago (and the other four have been together 40 years). Hearing is believing Sugar Ray and the BlueTones with "Seeing Is Believing" being another terrific recording of tough Chicago-styled blues.

I received my review copy from a publicist. This review originally appeared in the September-Octobetr 2016 Jazz & Blues Report (Issue 368). Here is Sugar Ray and the BlueTones in a 2016 performance.

Duke Robillard and His All-Star Combo - Blues Full Circle

Duke Robillard and His All-Star Combo
Blues Full Circle
Stony Plain Records

"Blues Full Circle," the title of Duke Robillard's new Stony Plain recording, in part refers to his back to the basics approach of this mostly small band, old school blues. Duke is joined here by his long-time associates Bruce Bears on keyboards, Brad Hallen on bass and Mark Teixeira on drums with Gordon Beadle and Doug James each adding sax to one track There are guest vocals from Sugar Ray Norcia and Kelley Hunt and Jimmy Vaughan adding his guitar on one selection. Duke contributed eleven songs, eight recent ones (one a collaboration with Vaughn) and three from 30 to 45 years ago. Kelley Hunt contributed one and one was a Jimmy 'Baby Face' Lewis song.

Recording of this album was interrupted after recording of seven songs by rotator cuff surgery and after a year off the remainder was cut. I have noticed that in recent recordings Duke's phrasing of his vocals sound self-consciously deliberate. This can be heard on several tracks here including the opening "Lay a Little Lovin' on Me," although as one listens to the excellent performances here it is a minor issue. The spirit of Eddie 'Guitar Slim' Jones is evident on several selections here including the tribute "Blues For Eddie Jones" as well as "Rain keeps Falling," with the slashing guitar work and the slow "Morning Dove" that also suggests Johnny 'Guitar' Watson, one of numerous guitarists influenced by Slim (also Albert Collins, Buddy Guy, and Earl King).

A nicely paced shuffle "No More Tears," finds Duke more in a B.B. King guitar vein while "Last Night" is influenced by some of the Duke recordings of Bobby Bland and Junior Parker with a superb Sugar Ray Norcia vocal and Sax Beadle adding tenor and baritone. After the New Orleans groove of "Fool About My Money" with terrific piano from Bears, Kelley Hunt takes the vocal and boogie piano (Bears is on organ here) on her rollicking celebration of Duke's home studio "The Mood Room." Doug James adds baritone sax behind Duke and Jimmy Vaughan on their easy rocking instrumental duet "Shufflin' and Scufflin'," with some organ grease from Bears in addition to the expected superb solos from both guitarists.

As usual, Duke's band is in top form, and whatever quibbles I might have about Duke's singing (and it is a minor point), the music on "Blues Full Circle" is exceptional.

I received my review copy from a publicist. This review originally appeared in the November-December 2016 Jazz & Blues Report (Issue 369) although there are corrections and minor revisions from that published review. Here is Duke and Monster Mike Welch along with Duke's band.

 

The Knickerbocker All-Stars Go Back Home To The Blues

A most pleasant surprise is a new release by The Knickerbocker All-Stars, "Go Back Home To The Blues" (JP Cadillac Records). The release is a follow-up to last year's "Open Mic At The Knick" and like the earlier album celebrates the Westerly, Rhode Island venue, the Knickerbocker Cafe. This is where, in the 1960s, musicians like Greg Piccolo, Johnny Nicholas, Fran Christina and others played in various groups which led to the emergence of Roomful of Blues by Duke Robillard and Al Basile and other bands. Producer Jack Gauthier and Musical Director Copley have put together a superb band of Mark Teixeira, drums; Brad Hallen, standup/electric bass; Al Copley, piano; Monster Mike Welch, guitar; Doug James, baritone/tenor sax; Sax Gordon Beadle, tenor sax; Rich Lataille,alto/tenor sax; Doc Chanonhouse,trumpet; and Carl Querfurth, trombone. Vocals are shared by Sugar Ray Norcia, Brian Templeton and Willie J Laws with Al Basile playing cornet and singing on one selection.

The musical focus is on the urban blues of the fifties and sixties with renditions of songs associated with Bobby Bland, Roy Brown, Guitar Slim, Chuck Willis and Larry Davis with Basile contributing several idiomatic originals as well. What can one say as the All-Stars are terrific, with Welch again showing that he has become one of today's top string benders. He channels Freddie King in backing Laws' soaring vocal on " You Know That You Love Me." Norcia opens the album with Bobby Bland's classic "36-22-36," with his terrific vocal perhaps more akin to Junior Parker than Bland. There is superb playing, including a booting tenor sax solo, backing Templeton on a jumping cover of Roy Brown's "Cadillac Boogie." Copley pounds on the piano on the Basile original "Brand New Fool," behind a fervent Norcia vocal, while Welch channels Guitar Slim as Laws' fervently sings Slim's  "Something to Remember You By." Norcia again evokes Junior Parker on a ripping cover of Chuck Willis' "Take It Like A Man."

The rest of this album is of an equally high level. There is a late night instrumental feature for the horns "Hokin'," while Basile plays cornet and delivers an appealing vocal of his witty original, "Don't You Ever Get Tired Of Being Right?" Templeton sounds vigorous on the Basile-penned title track that has strong tenor sax and guitar solos. Copley lays down some serious boogie woogie piano and Doug James get down in the alley on baritone sax on "Blockbuster Boogie." Laws preaches the blues on a driving rendition of Larry Davis' "I Tried," with more of Welch's blistering guitar. This entire recording is a joy for fans of jump and urban blues to listen to. It is another upper deck home run from the Knickerbocker All-Stars.

I received my review copy from a publicist. Here is a video of the Kickerbocker All Stars featuring Brian Templeton on the vocals.

The Knickerbocker All Stars Open Mic At The Knick

“Open Mic At The Knick” by The Knickerbocker All Stars on JP Cadillac Records is a celebration of the music scene in Westerly, Rhode Island in the late 1960s when such musicians as Greg Piccolo, Johnny Nicholas, Fran Christina and others held forth in various groups leading to the emergence of Roomful of Blues. With a core of musicians from guitarist Ricky King Russell and the Cadillac Horns, this recording brings together some terrific renditions of classic fifties and sixties blues, R&B and jump blues tunes. Fran Christina and his brother Bobby (one of the producers) hold forth the drum chair, while Al Copley and Dave Maxwell share the piano chair with a first rate horn section that includes Rick Lataille. The 13 vocals are shared between eight vocalists that include Johnny Nicholas, Sugar Ray Norcia, Curtis Salgado, and J. P. Sheerar (another of the producers).

The songs are classics associated with B.B. King “You Upset Me Baby” (ably reworked by Norcia); Bobby Bland’s “Turn On Your Love Light” (one of two terrific vocals from Malford Milligan the other being on the Butterfield Blues Band’s “Love Machine”); Billy Eckstine - Earl Hines’ “Jelly Jelly” and Lowell Fulson’s “Reconsider Baby” (Sung by John Nicholas who also sings Guitar Slim-Freddie King’s “Along About Midnight”); Buddy Guy’s “Mother-In-Law Blues” and B.B. King’s rendition of “Five Long Years” (sung by Willy Laws); Bland’s “Ain’t That Lovin’ You (sung by Salgado); Eddie Vinson’s “Somebody’s Got To Go” (sung by Sheerar) and Freddy King’s “I’m Tore Down (sung by Brian Templeton).

This is a marvelously played album of covers of classic blues. The band is excellent and the arrangements well done, even adding extra horns to several selections which had smaller groups on the original performances such as “I’m Tore Down” and “Going Down.” Toss in some strong vocals (and the only disappointing one is Nicholas on “Along About Midnight” and that is because my reference point is Guitar Slim and Roy Brown) and one has a terrific listening experience. Highpoint's include Milligan channelling Bobby Bland, Nicholas singing the Eckstine big band chestnut, Willie Law’s rendition of a lesser known Buddy Guy recording and Sheerar’s evocation of Cleanhead Vinson, but everything is a high level. With so many of the original performers no longer with us, this is a tribute not only to those days of the late 1960s but the music that inspired them.

I received my review copy from a publicist. This review originally appeared in the January-February 2015 Jazz & Blues Report (Issue 358).  The Knickerbocker All Stars have a new platter "Go Back Home To The Blues" that I hope to post a review of shortly. Here is a clip of them performing this year.

Anthony Geraci and 50 Shades of Blue

“50 Shades of Blues” is a new Delta Groove recording by keyboard wizard Anthony Geraci and The Boston Blues All Stars. Geraci is best known in anchoring the keyboards for Sugar Ray and the Bluetones, and he is joined by his band-mates: Sugar Ray Norcia, guiatrist Monster Mike Welch, bassist Michael ‘Mudcat’ Ward and drummer Neil Gouvin (although Marty Richards handles the drum chair for most of this). Guests include Darrell Nulisch, Michelle ‘Evil Gal’ Wilson, and Toni Lynn Washington, who along with Norcia, handle the vocals. Geraci produced this, in addition to playing piano and organ, and writing all 13 songs.

He gives some really wonderful new blues heard in terrific performances by all involved. Darrell Nulisch sings the opening “Everything I Do Is Wrong,” that sounds a song Otis Rush should have recorded for Duke. It features a tough Welch solo while Geraci pounds the ivories. The title song follows, a jump blues duet shared by Norcia and Wilson, with rollicking piano. Welch plays in a T-Bone meets B.B. vein on this. The next two selections are classic Chicago styled blues. “Sad But True,” is a Tampa Red styled blues with Welch on slide and Norcia on harmonica. It is followed by the stunning Muddy Waters influenced “Heard Thet Tutweiler Whistle Blow,” with Norcia singing about going to Detroit to build a car for Mr. Ford. Geraci channels Little Johnny Jones and Otis Spann on these two songs.

More Otis Spann influence is present on the closing “Blues For David Maxwell,” a superb instrumental tribute to the late pianist with Geraci's at perhaps his finest (and he is exceptional thoughout). This performance builds in intensity as Welch adding fiery guitar before Ward’s bass leads the band into a surprising concluding portion where they evoke Pharoah Sanders “The Creator Has a Master Plan,” with Norcia playing wood flute here. It is a marvelous finale to a stellar recording. Anthony Geraci is a first-rate blues songwriter and a terrific keyboard player. With these superb musicians supporting him, there should be no surprise about the consistently marvelous music on “50 Shades of Blue.”

I received my copy from Delta Groove. Here is a performance from the CD release party.

Sugaray Rayford Is Dangerous

I was familiar with Caron 'Sugaray' Rayford prior to his joining The Manish Boys. About his self-produced debut album Blind Alley, I observed, "Not many singers can take us from the delta to the modern chitlin’ circuit as easily as he does. A big man with a big voice and plenty of personality that makes Blind Alley a recording to savor." He can be heard on "Double Dynamite," the most recent recording by The Manish Boys where he shared vocal duties with Finis Tasby. With Tasby's recent health problems, Sugaray Rayford has become the primary vocalist for the rotating talent that play in that group. 

Delta Groove has just released the label's first release by Sugaray Rayford, Dangerous. Producer Randy Chortkoff has brought together an impressive group of supporting players including harmonica players Sugar Ray Norcia, Kim Wilson, Big Pete and Chortkoff himself; guitarists Kid Andersen, Franck Goldwasser; Gino Matteo and Monster Mike Welch; keyboardists Anthony Geraci and Fred Kaplan; bassists Willie C. Campbell and Bill Stuve; and drummer Jimi Bott. Several tracks have the horns of saxophonist Ron Dziubla and trumpeter Mark Pender. This is a first-rate studio band to back Sugaray's vocals.

There is a nice mix of material from the Chicago blues shuffle that Sugar Ray Norcia penned, Country Boy, a song reminiscent of Dave Bartholomew's similarly titled track.which sports Norcia's harp as well. The Sugaray and Norcia trade vocals on Norcia's amusing Two Times Sugar with Monster Mike superb here. Sugaray's "Stuck For a Buck" is an amusing uptown number as his woman has maxed out his credit cards with punchy horns. Chortkoff contributed I'm Dangerous, a fine lyric that evokes Muddy Waters (especially Muddy's recording Evil) as Rayford shouts that he is a natural born lover. Going Back To Texas is another fine Muddy Waters styled number with a melody that goes at least back to Otis Spann's Hungry Country Girl, that the great pianist recorded with Fleetwood Mac. 

Goldwasser channels T-Bone Walker on the excellent rendition of Pee Wee Crayton's When it Rains It Pours as Sugaray gives a wonderfully nuanced vocal while he shouts out Gatemouth Brown's Depression Blues, with some terrifically slashing guitar in the  manner of fifties Johnny 'Guitar' Watson from Kid Andersen. Andersen and Chortkoff also shine backing Sugaray on the cover of Junior Parker's In The Dark. 

Closing out Dangerous is a rendition of Son House's Preaching Blues with some nice slide guitar from Goldwasser. It is an interesting and enjoyable performance, if not completely successful to these ears. It does not diminish the overall excellence of the blues heard here. Sugaray Rayford is such an impressive singer and with excellent material and the superb backing band, Dangerous is another terrific album from a gentleman who is quickly solidifying a place in the upper ranks of blues singers today.

I received my review copy from Delta Groove.  This will be issued on September 17. This review has also appeared in the September-October issue of Jazz & Blues Report (Issue 350) which may be downloaded as a pdf file at www.jazz-blues.com.  Here is a video of Sugaray with The Manish Boys.

Mark Hummel Leads Memorable Little Walter Tribute CD

Mark Hummel has put together blues harmonica tributes for quite sometime and a live concert recording that Blind Pig has just issued Remembering Little Walter, has Hummel and fellow harmonica masters Billy Boy Arnold, Charlie Musselwhite, James Harman and Sugar Ray Norcia each handling a couple of vocals as well as share vocals and harmonica on a closing “My Babe. They are backed by an outstanding band of Little Charlie Baty and Nathan James on guitar, RW Grigsby on bass and Junior Core on drums. 

You know this band is good when one notices Core’s marvelous support behind Hummel on the opening I Got To Go, as well as the guitars light support behind Musselwhite on Just a Feeling. Then there is the terrific shuffle groove behind Arnold on You’re So Fine, with Baty and James channeling Robert Lockwood Jr and Luther Tucker as Core drives things in the manner of Fred Below. Performances by Harman and Norcia are similarly well played, paced, and enjoyable.

Musselwhite, along with Arnold, were the only of the participants to have actually known Little Walter, but it is impossible to play blues harmonica today without being touched by Walter’s mastery and the other three all have assimilated Walter’s style while creating their own blues visions which are quite evident on the consistently excellent renditions of Little Walter’s classic blues recordings presented on this exceptional blues recording.

I received this from Blind Pig. Here is Mark Hummel doing a Little Walter tune.

 

Ronnie Earl Plays With Heart & Soul

The review below was part of a review of several Black Top Records compilations issued by Shout Factory in 2006 and appeared in the September-October Jazz & Blues Report (issue 286). I may have received this directly from Shout Factory or from the publication. Reviews of the Anson Funderburgh and Guitar Shorty compilations have already run. I have made some stylistic changes. I should point out that a  number of the Black Top recordings are available in reissue or mp3 and you might want to check collector's choice music as well as Amazon and other websites for the Black Top recordings.

Ronnie Earl has established a lengthy catalog since leaving Roomful of Blues with albums on Bullseye Blues, Telarc and Stony Plain in addition to his fine discs on Black Top. Heart and Soul; The Best of Ronnie Earl. Starting with Smokin’, we hear Earl expanding his musical palette incorporating jazz influences in his playing and repertoire over the years leading to his instrumentally recordings of recent years. 

Vocalists supported by Earl include, Sugar Ray Norcia (with whom Earl recorded as Ronnie Earl Horvath in the late seventies before he joined Roomful of Blues) handling Guitar Slim’s You Give Me Nothing But the Blues; Darrell Nulisch on the fittingly titled Soul Searchin’; Kim Wilson on I Smell Trouble; and Mighty Sam McClain on the stunning Earl original, A Soul That’s Been Abused from Hubert Sumlin’s Blues Party. 

Instrumental features include a wonderful interpretation of Earl Hooker’s Blue Guitar as well as trading licks with Duke Robillard on What have I Done Wrong, from a 2005 Stony Plain recording, before closing with an instrumental rendition of Drown In My Own Tears, that features the great David ‘Fathead’ Newman. 

I am not sure whether this is really a Best of, but certainly is an excellent career retrospective of Mr. Earl’s music.

Here is Ronnie from 2012 doing a Kenny Burrell classic.

Sugar Ray Norcia's My Life, My Friends, My Music

Severn has just released a new CD by Sugar Ray and the Blue Tones, My Life, My Friends, My Music. It has Sugar Ray Norcia backed by his long-time associates, Michael ‘Mudcat’ Ward, Neil Gouvin and Anthony Geraci with guests Duke Robillard, Monster Mike Welch, Greg Piccolo, Doug James, Carl Querfurth, and Bob Enos. It gives him a chance to be heard in both a jump blues vein (after all he was Roomful of Blues’ vocalist for several years), a fifties Chicago blues vein and in some more intimate settings as well. 

Norcia has established himself as a solid, strong vocalist and this recording is no exception although his covers of Oh, Babe, and I Like My Baby’s Pudding pale compared to Wyonnie Harris’ definitive renditions. An amusing original, Little Green Talking Frog, is in a similar musical vein and Norcia is not afraid to handle a New Orleans ballad, I Want To be With Her, as well as the Andy Kirk (Pha Terrell on vocal) classic, Until the Real Thing Comes Along, although overshadowed by fifties renditions by Big Joe Turner and Jimmy Witherspoon (Spoon’s rendition recently made available on a superb Mosaic Selects reissue).

 A certain imagination in backing is present on Money Taking Mama, with spare accompaniment led by Geraci’s strong piano which evokes Tampa Red and Big Maceo. It is followed by a nice reading of Rice Miller’s stop-time I Don’t Know. An original gospel tune, No Sorrow No More, has a Piedmont, Sonny Terry and Brownie McGhee flavor, while Do You Remember has him nicely handling a Big Maceo song, styling his vocal after the piano blues giant with Monster Mike Welch adding some nice acoustic guitar fills. 

Its another engaging release from Sugar Ray and his friends, imaginatively programmed and with his originals mixed in with songs that have not been recorded to death. Not an essential release, but one that certainly will entertain many.

This review originally appeared in the July-August 2007 Jazz & Blues Report (Issue 295). I likely received my review copy from a publicist. He is a performance by Sugar Ray & the Blue Tones from around the time this album was released.

Sunny Crownover Is Right Here Right Now

Boston based vocalist Sunny Crownover has come to attention of music listeners through several swing-oriented albums produced by Duke Robillard. Now Duke has recorded her first contemporary blues album, Right Here Right Now (Shining Stone Records). In one sense it should not be surprising that they have put together a straight blues recording as Duke first saw her performing with 2120 South Avenue, a Boston based blues band led by Harvard University professor Charles Sawyer. 

Duke on guitar anchors the backing band that includes the keyboards of Bruce Bears, Brad Hallen’s bass and Mark Teixera on drums and percussion. There is a horn section including Doug James present on several songs, while Sugar Ray Norcia’s harmonica enhances several tracks. Songwriter Gary Nicholson collaborated with Duke on a number of songs. There is a strong consistency to the performances throughout.

Having heard Sunny Crownowner more restrained approach from an earlier recording that featured her, I was struck from her opening vocal on the Memphis soul-based Oh Yes I Will! how much more of a presence she displayed singing on this. The material is quite varied and includes some Chicago-style blues with Norcia on harp and one more traditional jazz-blue with the clarinet of Billy Novick. Robillard’s jazzy guitar fills and solo with restrained backing frame her singing on Brenda Burns’ One Woman Man, as she sings “no more love for free, you gotta do some work before you get it from me.” In addition to her soulful vocal on Love Me Right, there is rollicking piano from Bears and strong harmonica from Norcia. Robillard’s trebly guitar, Norcia’s harp and the lazy groove lend a swampy feel to Robillard’s Roll Me Baby. 

Cook In Your Kitchen gets the groove rocking and rolling with Bears outstanding as he channels Johnny Johnson. The strutting horns on Warned take the blues uptown, whereas on Al Basile’s,I Might Just Change My Mind, the horns and buoyant rhythm section sound more in a jump blues vein. Billy Novick’s clarinet on Hi-Heels and Home Cookin’, lends a old-school jazz flavor behind her delightful vocal as she sings about about all that a lady needs to do to keep her man satisfied. Duke’s slide guitar channels Elmore James on Trust Your Lover while Norcia adds his fat tone harp playing while Sunny sings about having to let go of one’s suspicions and trust one’s lover so one doesn’t worry one’s mind. 

A swampy and soulful rendition of Joe Tiven’s Can’t Let Go, is the final selection on this excellent album. Sunny Crownover’s earlier recordings displayed talent and promise. On Right Here, Right Now, she has certainly arrived.

I received my review copy from a publicist.

Sista Monica Parker Headlines 24th DC Blues Festival

Sista Monica at 1997 DC Blues Festival.
Photo © Ron Weinstock

The 24th DC Blues Festival takes place, September 1, 2012. It is at the Carter Barron Amphitheater in NW Washington, DC, starting at noon and running until 7:30PM.

Headlining the festival is the marvelous Sista Monica Parker, who is returning to the Festival after 15 years. Her appearance in 1997 was her first appearance on the East Coast and was one of the finest performances by anyone in the Festival’s history. She does not appear on the East Coast very often so we are fortunate to have the Lioness of the Blues, as the guitarist Vasti Jackson was first to describe her, returning with her outstanding band. I myself have written, “Sista Monica is as compelling a vocalist as anyone in the blues.” She is one of the few living singers one can compare to the greats like Big Maybelle and Etta James. She is that powerful a singer. She has a new release on her Mo’ Muscle label, Living In the Danger Zone.

Also appearing on the festival line-up (and they are closing out the Carter Barron show) is Sugar Ray & The Blue Tones. I first met Ray Norcia when his band then included Ronnie Earl (Horvath) and backed up J.B. Hutto in New York City (the year was 1978). He is still going strong and plays Chicago blues styled blues with an urban touch with a terrific band that includes Monster Mike Welch on guitar and Anthony Geraci on piano. As a vocalist his smooth delivery evokes Junior Parker and he is a strong, but not flashy harp player. Sugar Ray fronted Roomful of Blues for a period as well as led the Blue Notes for over thirty five years. His most recent CD is the Severn issued Evenin’ which I reviewed when it was released last year.The Lionel Young Band is also on the line-up. I have not seen them, but they were winners of the 2011 International Blues Challenge. Young hails from Colorado and plays fiddle in addition to guitar.

Dr. Ayaba Bey will be singing with the
Dc Blues Society band. Photo © Ron Weinstock

Clarence ‘The Blues Man’ Turner, who was the winner of the 2011 DC Blues Society Battle of the band as well as the DC Blues Society Band featuring Ayaba Bey rounds out the line-up. I might add that the DC Blues Society Band sounds better every time I see them with a fresh repertoire of songs and D. Bey is a wonderful singer who should not be overlooked. They are a reason to get to the Festival when it starts.

The festival will also have its usual workshops as well on the John Cephas Workshop Stage located at the main gates in front of what would ordinarily be the ticket booth for the Carter Barron. Nadine Rae will once again lead a vocal workshop, while Mike Westcott will head the guitar workshop. 'Choo Choo' Charlie Williams will conduct the Children's harmonica workshop and the Archie Edwards Blues Heritage Foundation Ensemble once again is featured on the workshop stage.  

The Festival is free and no tickets are required for the Festival. The Festival schedule is up on the Blues Society's website, http://dcblues.org/bboard/phpBB2/viewtopic.php?p=4345.

Afterwards the DC Blues Society holds the Festival After-Party (and fund-raiser) featuring the Lionel Young Band at the American Legion Post 41, 905 Sligo Avenue, Silver Spring, Maryland. The Legion's entrance is actually on Fenton Street by the Parking lot. The After-Party starts at 8:30PM and is a ticketed event. Advance tickets are available online at a discount over the door price at the Society’s website, www.dcblues.org or one can call 301-322-4808.

Members of the Archie Edwards Blues Heritage Foundation including Eleanor Ellis, Rick Franklin and
Dave Jackson performing at the Workshop Stage during the 2011 DC Blues Festival.
Photo © Ron Weinstock

BTW, the Lionel Young Band will also be appearing along with The Holmes Brothers and Mikey Jr., at the Baltimore Blues Society's annual Alonzo's Memorial Picnic on Sunday, September 2 at the Rosedale Maryland American Legion Hall. Check out mojoworkin.com for more information.

Be part of the Carter Barron crowd for the DC Blues Festival!
Photo from 2011 Festival © Ron Weinstock

Jimmy "T-99" Nelson Was Indeed A Legend

Jimmy “T-99” Nelson is among the last of the shouters that arose during the swing era and who flourished in the early years after World War II when jump blues was a major part of the rhythm and blues market and before rock and roll adversely affected the careers of more adult oriented performers. Nelson, heavily influenced by Big Joe Turner, established himself on the West Coast and had some recordings make the rhythm and blues charts including the seductive slow blues, Meet Me With Your Black Dress On (not the Black Drawers tune made famous by the Cheathams) and T-99 Blues, a song named after the famous Texas highway and at least partially derived from Honeydripper Blues, first recorded by St. Louis singer Edith Johnson (I believe) and later a signature tune for that great blues and barrelhouse pianist, Roosevelt Sykes (The popular rhythm and blues hit, The Honeydripper, by Joe Liggins is a completely different song).

Nelson’s hit had him backed by the Peter Rabbit Trio, and they two recordings along with other wonderful blues from the early fifties waxed for Modern Records have been reissued by English Ace on Cry Hard Luck. He even recorded for Chess Records in the 1950s and later settled in Houston where he continues to reside. Rounder issued his first comeback album, Rockin’ And Shoutin’ The Blues, in 1999, followed by the marvelous Take Your Pick on Nettie Marie in 2002. Nettie Marie has just issued his latest disc, simply titled, The Legend, a disc where he is backed by mostly Roomful of Blues alumni including Duke Robillard (guitar), Sugar Ray Norcia (harp), Matt McCabe (piano), Marty Ballou (bass), Neil Gouvin (drums), Sax Gordon (tenor sax), Doug James (baritone sax) and Carl Querfurth (trombone).

Its a solid effort opening with an original, The Devil’s Sending Up a Blessing to You, which employs the It Hurts Me Too melody) and a nice personalized reworking of Sonny Boy Williamson’s Help Me, although Nelson and the band do not quite capture off the ebullience of Louis Jordan’s classic calypso number Run Joe. Most of the songs are Nelson’s originals and he is a witty writer and the band capably delivers I’m Sick and Tired of You, where he tells his woman “I can be bad by myself,“ One Step At a Time, with its nice walking groove, or Sunrise Blues, whose lyrics evoke some of Joe Turner’s classic sides with a strong tenor sax solo by Gordon.

While this is a very good album, it was not quite as strong as it could have been. The band plays a bit too tightly and a bit looser, limber feel would have made it a bit more swinging. I would love to hear Nelson backed with some of the musicians that made Deacon John’s Jump Blues, the standard for recent efforts in this vein. Otherwise, it is gratifying to hear that he remains in strong voice.

This review originally appeared in the August 2005 DC Blues Calendar. I do not remember whether I purchased this or received a review copy.  Here is a video of Jimmy doing one of the classics that his main influence, Big Joe Turner first sang.

Sugar Ray & The Bluetones Hit All The Right Notes

Severn has just issued the latest from Sugar Ray & the Bluetones, Evening. The latest from the veteran New England band featuring the vocals and harmonica of Ray Norcia, the piano of Anthony Geraci,and the guitar of Monster Mike Welch tackles a typical range of Chicago and modern urban blues which are played in a traditionally rooted, but fresh approach. Michael 'Mudcat' Ward's bass and Neil Gouvin's drums fill out the solid rhythm section for the Blue Tones,

I have been a fan of Norcia since when I saw him in 1978 backing J.B. Hutto in New York City (when Ronnie Earl was still with him), and since enjoyed his stint with Roomful of Blues in addition to his strong body of recordings, this new release brings together a few choice interpretations of less covered blues with idiomatic blues originals that thankfully show little, if any, blues-rock tinges.

This set kicks off with Johnny Young's I Having a Ball, with Norcia blasting out some harp and then belting out an ebullient vocal that captures the spirit of Young's original; as Geraci pounds away at the keys and Welch suggests the brilliance of the late Sammy Lawhorn with his accompanying riffs and single note runs. Welch contributed the slow blues Hard To Get Along, as Norcia sings about needing to get better than he is in a performance that evokes the classic Chess sound before they cover Otis Rush's Checker recording You Know My Love, which was based on Rush's Cobra recording My Love Will Never Die. It takes a fair amount of bravado to cover Rush, and Norcia able handles the vocal while Welch rips off strong guitar that recalls Rush.

The mood changes with the lazy groove of Dear John. Sugar Ray’s harp here shows a touch of Walter Horton's influence as Sugar Ray laments his women leaving for his brother John. Sugar Ray celebrates his woman on I Like What You Got, followed by the “talking blues vocal of Too Many Rules and Regulations, as Geraci channeling Otis Spann and Welch adds scintillating fills behind Sugar Ray's talking vocal. Dancing Bear (Little Indian Boy), opens with Norcia playing a native American Flute, before delivering a lyric singing about a proud Indian boy. It is followed by a nice rendition of the standard Evening, made famous by Jimmy Rushing and T-Bone Walker. Geraci is outstanding on piano and organ, while Welch rips off a hot solo.

The harp at the very beginning of I Came Down With The Blues suggests Slim Harpo before Sugar Ray eases into a more Sonny Boy Williamson II vein. I'm Certain That I'm Hurting, is a lively shuffle with Sugar Ray is hurting about his girl's flirting. The closing, slow instrumental XO, allows Sugar ray to demonstrate his fluid attack and strong tone. There are a couple songs on which the lyrics are not be as strong as the superb playing by the Bluetones, but they consistently nail the performances here. I previously mentioned the contributions of the soloists the contributions of bassist Ward and drummer Gouvin, who (with Geraci) provide the solid, swinging foundation here, merit commendation. Evening is another first-rate effort from Sugar Ray & the Bluetones.

This is scheduled for release on October 18, so consider this review a heads-up. A publicist provided me with my review copy.

Big Walter & Friends Wedding Celebration Blues.

In light of my recent discussion of the excellent JSP box on Walter Horton, this review of an unexpected CD that features Walter Horton is worth bringing to your attention. The review originally appeared in the September 2008 Jazz & Blues Report (issue 308). BTW it is still available from the sources listed at the review’s end and also from itunes.


The bands at most wedding receptions do not generally produce live recordings, but in 1978 Joan and George Nicholas got married in Rhode Island and at the Bocce Club some 150 odd people squeezed into the club which held on 75 to hear a terrific band that included Ted Harvey on drums, Mudcat Ward on bass, Anthony Giarossi on piano and Ronnie Earl Horvath on guitar as well as Sugar Ray Norcia, Guitar Johnny Nicholas and Big Walter Horton, The resulting disc, “Bocce Boogie” (Topcat) is an enjoyable, although not essential, document of that affair.

Opening with ‘ Everyday I Have the Blues,” with Norcia singing and Ronnie Earl taking a hot swing solo. The legendary Big Walter comes on stage for a driving “Walter’s Boogie,” nicely delivered although he is a tad bit too prominent in the mix (while no one is saying this is super high fidelity, although the sound is definitely acceptable). This is followed by Walter doing “Trouble in Mind” (oddly credited to Amos Milburn), as a duet with Guitar Johnny and a cover of Little Walter’s “My Babe” with nice rocking guitar and fine harp to take the song out. Horton’s harp takes the lead before Guitar Johnny belts out the vocal on “Cold Chills,” as well as on Magic Sam’s “That’s Why I’m Cryin’,” on which Sugar Ray plays chromatic harp.

The title track is a rollicking rocker with some blistering guitar runs and Horton’s signature amplified harp wizardry, followed by Horton’s take on that Mexican ode to cockroaches ,“ La Cucaracha.” I suspect it is Ronnie Earl playing the superb Earl Hooker-styled slide guitar on “Sweet Black Angel.” on which Horton handles the vocal. Check out Anthony Giarossi’s fine piano on this track as well. It is followed by a “Baby Please Don’t Go,” patterned on Muddy Waters’ recording of this classic, Horton’s classic “Hard Hearted Woman,” and the rollicking shuffle “Little Bitty Girl,” all with solid support by the band.

Horton was not the strongest vocalist, but certainly sings forcefully, but when he played the harp, one was taken along for the ride. Guitar Johnny returns for a vocal on the hot shuffle “ Tell Me Why,” before Ronnie Earl introduces the performers on the set closer with “Breakin’ With the Earl.” Sound is quite acceptable if the band is a slight bit too prominent in the mix and Horton sounds like he sang through his harp mike, but this is quite an enjoyable set with some real good Walter Horton harmonica (likely to be its biggest selling point).

It is available on cdbaby, amazon and other sources.



For FTC purposes, a review copy of this CD was likely provided by the record company or a publicist.